Philosophical Thoughts as Reflected in Drama S of Kālidāsa

1. International Research Research and Development (IJTSRD) International Open Access Journal phical Thoughts as Reflected in Drama-S of Kālidāsa International Journal of Trend in Scientific Scientific (IJTSRD) International Open Access Journal ISSN No: 2456 ISSN No: 2456 - 6470 | www.ijtsrd.com | Volume 6470 | www.ijtsrd.com | Volume - 2 | Issue – 4 Philosophical Thoughts Drama Dr. Debajyoti Jena Department of Sanskrit & Indian Culture SCSVMV University Head of the Department, Department SCSVMV University, Enathur, Enathur, Kanchipuram, Tamil Nadu, India Mahākavi Kālidāsa a luminous star in the galaxy of Sanskrit literature. As a poet as well as a Dramatist, he has not only written the prominent poems and famous dramas just for the amusement and happiness for the people of society, but he has reflected the socio-political status, religious thoughts and spiritual approaches of the society as well. It is also noticed that when Sanātanadharma or Vaidikadharma upon a time was in crises by the influence of Buddhadharma and Jainadharma in the soil of India, by the mean time, Ancient Scholar (Vaidika made their efforts to establish and propagate the same by highlighting the value of it. Establishment of Dharma was only possible through the writing of Kāvyas and Nāṭakas by the then scholars. As a resu poet Kālidāsa has not ignored the chance to highlight the concept of philosophy and religion, while writing his dramas and poems. We may discuss here few areas where Kālidāsa has concentrated to highlight the philosophical thoughts in his writings part dramas. Mahākavi Kālidāsa a luminous star in the galaxy of Sanskrit literature. As a poet as well as a Dramatist, he has not only written the prominent poems and famous dramas just for the amusement and happiness for the people of society, but he has reflected the political status, religious thoughts and spiritual approaches of the society as well. It is also noticed strong devotee of Śiva, poet Kālidāsa made Śivastuti in his drama Mālavikāgnimitram with eightfold image strong devotee of Śiva, poet Kālidāsa made in his drama Mālavikāgnimitram with of Lord Śiva in Mangalācaranam Mangalācaranam. He proclaims the worship of all pervaded Lord Śiva lends human for attainment of knowledge by removing the ignorance. It is said rightly एकै एकै? ?य य??ि ि? ?थतोिप थतोिप? ?णतव णतव? ?फले फलेयः यः का का? ?तासि तासि? ?म म? ?द देेह हो ोऽ ऽ? ?यिवषयमनसां यिवषयमनसां अ अ? ?ािभय ािभय??? ?य यकृ कृ?? ??ंंजगदिप जगदिपत तन नुुि िभ भ? ?ब ब??? ?तो स स? ?मागा मागा??लोकनाय लोकनाय? ?पनयतु पनयतुस स Mālavikāgnimitra -1.1 In the above said Mangālācaranam very carefully used a term as “ which represents Devī Pārvatī with lord Śiva. It is also denoting the Ardhanārīśvara and Pārvatī. In Raghuvaṁsa (1.1) while he used ‘Vāgarthau’, in connection to that, he also used a term as ‘Saṁpṛktou’, which means both Lord Śiva and Pārvatī are in separable in their way. So it is understood that Kālidāsa has not used the term ‘Saṁyuktou’ in state of ‘Saṁp could have written the term ‘Sa there could have possibility to get separation of Śiva and Pārvatī but the term ‘Saṁp bond between Śiva and Pārvatī which is inseparable. By realising this, Poet Kālidāsa has also explained the Mangalācaranam of Mālavikagnimitram by using the term ‘Sanmiśradeha’ to represent the term ‘ and established the concept of and established the concept of Ardhanārīśvara. He proclaims the worship of all pervaded Lord Śiva lends human for attainment of knowledge by removing the ignorance. It is said rightly- ? ?वयं वयंकृि यः यःप पुुर र? ?ता कृि? ?वासाः। वासाः। ता? ?त ती ीन ना ाम म््। ।। । Vaidikadharma once upon a time was in crises by the influence of in the soil of India, VaidikaṚṣi) have त तन नुुि िभ भ? ?ब ब??? ?तो तो तोनािभमानः। नािभमानः। स सव व? ?तामस तामस? ?व वृृि ि? ?मीशः।। मीशः।। made their efforts to establish and propagate the same by highlighting the value of it. Establishment of was only possible through the writing of by the then scholars. As a result, poet Kālidāsa has not ignored the chance to highlight the concept of philosophy and religion, while writing We may discuss here few has concentrated to highlight the philosophical thoughts in his writings particularly in Mangālācaranam, poet Kālidāsa has term as “Kantāsammiśradeha”, which represents Devī Pārvatī with lord Śiva. It is also Ardhanārīśvara concept of Lord Śiva sa (1.1) while he used , in connection to that, he also used a term which means both Lord Śiva and Pārvatī are in separable in their way. So it is understood that Kālidāsa has not used the term Moreover, the establishment of Ῑśvaravāda, concept Prakṛti and Iśvaratattvasidhanta, Vāgarthavāda and the concept of Yajňa and Devatā are discussed in detailed in this research paper with proper evidences. śvaravāda, the Yogavichāra, and the concept ṁpṛktou’. It means, if he Saṁyuktou’, in that case ility to get separation of Śiva ṁpṛktou’ denotes a strong Puruṣa, , are discussed in detailed in this bond between Śiva and Pārvatī which is inseparable. By realising this, Poet Kālidāsa has also explained the of Mālavikagnimitram by using the to represent the term ‘Sampṛkta’ Establishment of Ῑśvaravāda It is also observed that, after a long gap of time duration, the Vedic Gods like Aśvinkumār, Indra, Agni and Kubera were not worshiped, in their place Brahmā, Viṣṇu and lord Śiva became so popular among the people during the Kālidāsian period. Most probably due to the influence of Buddhism, the worshipers of different Gods became united by leaving their diversity. By noticing this and being a leaving their diversity. By noticing this and being a It is also observed that, after a long gap of time duration, the Vedic Gods like Aśvinkumār, Indra, Agni and Kubera were not worshiped, in their place and lord Śiva became so popular The same concept is also reflected in Nandi of to strengthen more. To get rid The same concept is also reflected in Nandi of Abhijňānaśākuntalam to strengthen more. To get rid of form the rebirth or Punarjanma Punarjanma, Kālidāsa also idāsian period. Most probably due to the influence of Buddhism, the worshipers of different Gods became united by @ IJTSRD | Available Online @ www.ijtsrd.com @ IJTSRD | Available Online @ www.ijtsrd.com | Volume – 2 | Issue – 4 | May-Jun Jun 2018 Page: 1976

2. International Journal of Trend in Scientific Research and Development (IJTSRD) ISSN: 2456-6470 used the term Ῑśa. “ईश् the whole universe (?? general, Brahma Brahmāṇḍa. So in this connection, both Patanjali and Kālidāsa accept the entity of Ῑśa in Brahmāṇda. That why Kālidāsa understood the eight fold images of Ῑśvara which is all-pervading in the whole universe. As Kālidāssa says— ईश्स स? ?ायाम् ??ा ा? ?ड ड) is Ῑśvara. If we see in has no connectivity ायाम्” means the master of prayed Abhijňānaśākuntalam. Lord Śiva in Bharatvākya of with ममािप ममािपस स? ?पयतु प पुुन नभ भ??वं वंप प? ?रगतशि Further, it is understood when Buddhists had established the concept of Niriśvaravāda and the whole society was in wrong direction, by the mean time, perhaps Kālidāsa was trying to establish Iśvaravāda by throwing light towards the eightfold images of Lord Śiva. पयतुनीललोिहतः नीललोिहतः रगतशि? ?रा रा? ?मभूः।। मभूः।। Abhijňānaśākuntalam- 7.35 ?? ??य य? ?ािभः Abhijňānaśākuntalam -1.1 ािभः ? ?प प? ?त तन नुुि िभ भर रव वत तुु व व? ?तािभर तािभर? ?ािभरीशः।। ािभरीशः।। Here Kālidāsa has used the term Pratyakṣa intentionally to show his response towards the Śunyavāda of Baudhadarśana. As a result Kālidāsa wanted to prove Ῑśvara who is Nirākāra, Nirvikalpa, Nisarga, Nirdvanda, Paramacaitanya as per the line of Yogadarśana. Concept of Puruṣa & Prakṛti :- Bṛhadāranyakopaniṣad says “एकमेवाि नानाि नानाि? ?त त? ?क क? ?न न”. This statement is also supported by Nāsadīyasūkta (10-29) of Ṛgveda proclaiming that supreme Brahman is one in form there is no duality. This is to be called as Ekattavāda. If we have a deep vigil towards the Kālidāsian Society, we understood that, the concept of Dvaita or DvaitaSiddhānta was also prevailing in the then society and taking the form or line of special Śāstra. The most prominent and oldest darśana is Sānkhyadarśana among the Ṣaḍdarśana. We may get its tremendous impact on Bhagavatgītā. This Sānkhya philosophy accepts Puruṣatattva, there is no doubt in it, but it also accepts the Prakṛtitattva as eternal along with Puruṣatattva. एकमेवाि? ?तीयम् तीयम्?? ??न नेेह ह Nirupamavibhava and Again it is also said that Ῑśvara of Patanjali and Puruṣa of Sānkhya had no connectivity with Yogasūtra of Patanjali but Kālidāsa has made both in one. In the Mangalācaranam of Vikramorvasīyam he says:- वेदा वेदा? ?त तेेष षुुयमा यमा? ?रेकपु रेकपु? ?षं षं? ?ा ा? ?य यि ि? ?थतं यि यि? ?म म? ?ी ी? ?र रइ इ? ?यन यन? ?यिवषयः यिवषयःश श? ?दो दोयथाथा अ अ? ?तय तय??? ?मुमु मुमु? ?ुुि िभ भ? ?न न??यिमत यिमत? ?ाणा ाणा? ?दिभमृ स स? ?थ था ाण णुुः ःि ि? ?थरभि थरभि? ?योग योगस सुुल लभ भो ोिनः Vikramorvasiyam -1.1 It is to be marked that Kālidāsa has used the term sthirabhaktiyogasulabha (ि ि? ?थरभि line as an adjective to Sthāṇu is nothing but the Saguṇarupa of Lord Śiva. We understand that Patanjali has directed two ways to achieve Mokṣa. A Yogi gets or realises Atmā through Contemplation can achieve Mokṣa. A Devotee keeps attention through Devotion toward Ῑśvara can also achieve Mokṣa. थतंरोदसी रोदसी यथाथा??? ?रः। दिभमृ??? ?यते यते िनः? ?ोयसायाऽ रः। ोयसायाऽ? ?तु तुवः।। वः।। It is understood that, the concept of Puruṣa and Pakṛti or we may say Prakṛtipuruṣavāda was so powerful and sway during Kālidāsiān age. As a result, the entity of Prakṛti and Puruṣa was well treated in the form of Pārvatī and Parameśvara. Kālidāsa has nicely narrated in Raghuvamsa as ‘Vāg’ and ‘Artha’ by representing Pārvati and Ῑśvara. The same idea is also reflected in Manalācaranam of Mālavikāgnimitram and poet used the term Sammiśradehaḥ as already discussed earlier. थरभि? ?य यो ोग गस सुुल लभ भ) in last Yogavicāraḥ :- Poet Kālidāsa has taken the term Puruṣa from the definition of Sānkhyśātra and the term Yoga and Samādhi from the definition of Yogasūtra. Not only in the Drāmas but also in his poems, he has frequently used the term from Sānkhy Philosophy and from Yogasūtra. Maharshi Patanjali says in Yogasūtra as – ई ई? ?र र? ?िणधानाद् िणधानाद्वा वा, it means the Devotion towards Ῑśvara many led to Mukti or Mokṣa to the Devotees. Here in this Sūtra, Patanjali did not use the term Brahma but used the Mangalācarana of Abhijňānaśākuntalam, Kālidāsa In this Mangalācaraṇa, Kālidāsa used the term Sthāṇu by keeping the idea of Patanjali as “ई ई? ?र र? ?िणधानाद् िणधानाद्वा वा”. Sthira means concentration or Ekāgratā. A devotee should have concentration on Ῑśvara like a Yogi. Ananyabhakti. Through Ananyabhakti, a devotee will get stability or Sthiratā. Kālidāsa accepts the concentration or Ekāgrata of Yogi in case of a Devotee. The term vā (वा वा) is represents as Vikalpa or substitute, means the second path Bhaktiyoga may be adopted to achieve Mokṣa alternatively. Therefore Kālidāsa has accepted Sthirabhaktiyoga through the That concentration is term as Ῑśvara. In @ IJTSRD | Available Online @ www.ijtsrd.com | Volume – 2 | Issue – 4 | May-Jun 2018 Page: 1977

3. International Journal of Trend in Scientific Research and Development (IJTSRD) ISSN: 2456-6470 control of Chittavṛtti. As Patanjali defines the Yoga - योगि योगि? ?त तव वृृि ि? ?िनरोधः िनरोधः. Again Ῑśvarapaṇidhāra denotes as Bhakti to concentrate on Ῑśvara to get Mokṣa. This is the Yogavicara or yogic concept which has been taken by Kālidāsa and reflected the same in his Drāma Vikramorvaśīyam. problem of Śabdārtha was properly understood by Kālidāsa. here the term It is also noted that, during Vedic period the concept of Śabdabrahma was the prime thought of Vedic Seers. Vedavākya-s are ultimate truth by giving importance to Śabda and these Śabdas are eternal. That’s why Vedic Mantras are intact without having any changes there in, but in LaukikaSāhitya there are different Pāṭhabhedas. Moreover, due to impact of Vedic tradition, scholars like Yāska, Pāṇini, Patanjali have given more emphasis on Śabda. Thereafter, when LaukikaSāhitya took its shape and scholars have started writing Kāvyas and importance of Artha came in contact with Śabda. It is rightly said that िस श श? ?दथ दथ??यो यो? ?न न??? ?यस यस? ?ब ब? ?धः धः it means in Kāvya, both Śabda and Artha are eternally connected each other to convey a specific meaning. Accepting this view, Acārya Bhāmaha said “श श? ?दाथ extend a beautiful definition of Kāvya. In this connection poet Kālidāsa also had accepted this statement; as a result he has put his intention to mingle both in a poetic form in the Mangalācarana of Raghuvamsa. As it is said- वागथा वागथा??िवव िववस स? ?पृ पृ? ?ौ ौवागथ वागथ??? ?ितप ितप? ?य येे। । जगतः जगतःिपतरौ िपतरौव व? ?दे देपाव पाव??तीपरेमे तीपरेमे? ?रौ।। In this verse, Kālidāsa wants to convey the eternal connectivity between Lord Śiva and Pārvatī, the divine parents of whole universe with a simile, like the relation between Śabda and Artha. The term Vāg means Śabda or Vāṇi and Artha means its meaning but here Kālidāsa has not used the term श श? ?दाथा place of वागथा वागथा??िवव िवव deliberately. The term Vāg signifies the feminine nature as per grammatical rule which represents the DevīPārvatī and the term Artha signifies the masculine nature, represents Lord Śiva. Through the VyaňjanaVyapāra it is explained by Kālidāsa by emphasising Śabda and Artha are inseparable. This concept indirectly touched upon by Kālidāsa to establish the Ardhanāriśvara of the Divine Couple. By using Upamālankāra, Kālidāsa tries to intensify the Dhvanitatva as Śabda and Artha both are equally importance for a Kāvya. Again he has represented the beauty (सौ सौ? ?दय (Conjugal life) in form of Śiva and Pārvatī and established the position of Śabda and Artha in Kāvya. Here we may say, the Anurakti Saundarya between Śabda and Artha is also reflected. As long Śiva and Śakti cannot be separated like Śabda and Artha cannot be separated like the relation between Guna and Gunī Ῑśvaratattvasiddhānta :- To understand the thoughts of poet Kālidāsa, we must accept the contribution of Maharṣi Patanjali. Yogadarśana of Maharṣi Patanjali was standing like a milestone before the Vedic & Buddhist thoughts. Maharṣi Patanjali has explained and defined the Samādhitattva and also accepted the same for Puruṣatattva as prescribed by Sānkhya philosophy. Once upon a time, the existence of Puruṣa was doubtful and the position of Prakṛti became so prominent. As per Sānkhyadarśana, Puruṣa became Udāsina. By the mean time, there was a need to establish Ῑśvaratattva where as Patanjali proved to achieve Mokṣa through Yogamārga. By getting influenced by Yogadarśana perhaps Kālidāsa has established the concept of Ῑśvara in his writings. As already we have discussed that, the Mangalācarana of the drama Mālavikāgnimitram, Vikromorvaśīyam and Abhijňāśākuntalam clearly denote the concept of Ῑśvara. िस? ?ेे दाथ? ?सिहतौ सिहतौका का? ?म् म्”to रौ।। Raghuvamsa- 1.1. In Mālavikāgnimitram, poet Kālidāsa has explained the eightfold form of Lord Śiva with association of Pārvatī by using the term Kāntāsammiśradeha. Again he has used the term Ῑśa to denotes Lord Śiva. In Vikramorvaśīyam and Abhijňānaśākuntalam also the concept of Ῑśvara is established by poet Kālidāsa. दाथा??िवव िवव in Vāgarthavāda :- Poet Kālidāsa was contemporary to Maharṣi Patanjali. When we analyse the concept of Śabda and Artha of Patanjali we may come across with many issues. In general Vāg means Vāṇī or Śabda and Artha means its meaning. But apart from this, whatever the problem was occurred earlier to Kālidāsa on Śabda and Artha, by the time Poet, Kālidāsa was completely aware about it. During the period of Kālidāsa, Ālamkārikas also have given different opinion on Śabda and Artha in connection to Kāvya. Aṣṭādhyāyi of Pānini was placed before the scholars as Śabdānuśāna and based on that, Patanjali has emphasised the importance of Śabda in his work Mahābhāṣya. In Sāhityaśāstra, Scholars also have given importance to Śabda. In this juncture, importance to the part of Artha, during that period might have neglected or influenced less. Such दय??) of DāmpatyaPrema @ IJTSRD | Available Online @ www.ijtsrd.com | Volume – 2 | Issue – 4 | May-Jun 2018 Page: 1978

4. International Journal of Trend in Scientific Research and Development (IJTSRD) ISSN: 2456-6470 अ अ? ?तग आमृ आमृ? ?- व व? ?ो ोह ह? ?रच Abhijňānaśākuntalam – 7.2. In Vikramorvaśīyam, after getting invitation from Indra, Pururavā indulged in war and put Daityas in to ocean by his powerful arrows. It is said- तग??त त- ? ?ाथ ाथ??नामि नामि? ?तक रच? ?दना तक? ?थं थंजय दना? ?का काम म? ?दारमाला जय? ?तमु दारमालाह ह? ?रणा तमु? ?दी दी? ?य यकृति कृति? ?म मत तेेन न। । रणािपन िपन? ?ा ा।। ।। and Dharma and Dharmī. This is Saudaryavāda of Vāmana. Finally it may say, Poet Kālidāsa has explored the truth of Śabda and Artha in advaita form and made both united in the form of Ardhanārīśvara and also explained Aṣṭamurti form of Śiva in Vedāntic perspectives in his drāma-s. Concept of Yajňa & Devatā :- If we have a glance to the religious thoughts of Kālidāsa through this writings, we may confined him to the age of 2nd century B.C. Poet Kālidāsa tries to establish and support the VaidikaDharma or SanātanaDharma in his drāma-s. During Buddha and Jaina period Animal Violence was existing in Yajňa and performance of Bali was prevailing. Creating injury to the animals was considered as ill activities. Such reflection we may get in 6th act of Abhijňānaśākuntalam through the dialogue of the fisherman. He proclaims that, due my Kaulikavṛtti. I used to do ill activities everyday by catching fishes like a Paṇḍita who used to provide Bali of Animal in Yajňa even though he does not like to do such cruel actives. It is said by Kālidāsa as – सहजं सहजं? ?कल कलयदिविनि यदिविनि? ?दतम् दतम्न नखलु खलुत त? ?कम प पश शुुम मा ार रण णक कम म??दा दा? ?ण णो ोऽ ऽन नुुक क? ?प पा ाम मृृद दुुर रेेव व Abhijňānaśākuntalam 6.1 अदः अदःस सुुर रेे??? वाय वाय? ?म म? ?ंंशर Vikramorvaśīyam – 1.19. Kālidāsa sometime utters the name of other Gods while composing drāmā-s. In Vikramorvaśīyam he utters the name of Brahmā, when explaining the extra ordinary beauty of Urvasī. He says- वेद वेद? ?यास यासज़डः ज़डःकथ कथ? ?ुुिवषय िवषय- ? ?ा ाव वृृत तक कौ ौत तूूह हल लो ो। । िनमा िनमा??तुं तुं ? ?भवे भवे? ?मनोहरिमदं मनोहरिमदं Vikramorvaśīyam-1.10. In Mālavikāgnimittram, Kālidāsa explains the name of Viṣṇu who has sifted Rukminī and got marry her. Kālidāsa says- तव तव? ?तवतो तवतोद द? ?डानीकै डानीकै? ?व व??दभ दभ??पतेः पतेः? ?ीयम्। प प? ?रधगु रधगु? ?िभद िभद?? ??भ भ??? ?व व?? ??णोः णोः ? ?स स? ? Mālavikāgnimitram- 5.2. Again we also noticed that very frequently Kālidāsa utters the name of Śiva in Mangalācaranam of all three drāma-s as critics described him as a Śaiva- a great believer of Śivatattva. ???य यकृतापराधान् कृतापराधान्? ?ि ि?? शर? ?धं धंप पुुन न? ?ते तेमहोरगः ??य यदै दै? ?यां महोरगः?? यां? ?लवणा लवणा? ?व वुुर रा ाश शौ ौ। । ??िमव िमव? ?िव िव? ?म म््। ।। । ? ?पं पं प पुुर रा ाण णो ो म मुुि िन नः ः। ।। । कम??िववज िववज??न नी ीय यम म््। । ीयम्। ? ?ोि ोि? ?यः।। यः।। च च ? ?ि ि? ?मणीम्।। मणीम्।। From this verse it is understood that killing or creating injury to the animals was considered as an ill and cruel activity during Kālidāsian period. After Buddha, Jaina and post period of Kālidāsa, killing animals in Sacrifice or Yajňa was prohibited due to the gradual impact of Bhaktimārga and Yogamārga. This Baliprathā or killing animal in Sacrifice was prevailing during Kālidāsian period because of the greater influence of King and Monarchy. Finally, in this research paper an attempt has been made to establish the philosophical thoughts as reflected in the dramas of the great poet Kālidāsa. References – 1.Mahākavi Kālidāsa – Dr. Prabhu Dayal Agnihotri- Eastern Book Linkers, Delhi, 1997 Apart from this, we may recognise the position of Heavenly Gods in Kālidāsian drāmas. When calamities occur, the kings of Kālidāsa were being invited by the Gods Vikramorvaśīyam,(1.6) through the dialogue of Menakā in first act we notice that, king Pururavā was invited by lard Indra to help him war against Dānavas. The exact reference also we may get in Seventh act of Abhijňānaśākuntalam (7.1) where king Duṣyanta was being invited by Indra and extended hospitality. The hospitality, which was extended to Duṣyanta by Indra by offering a beautiful garland of Mandārapuṣpa. It is said in Abhijňānaśākuntalam- to assist them. In 2.Kālidāsa Vyakti tathā Abhivyakti- Dr.Prabhākar Narayan Kavathekar- Nag Publication, Delhi,2009 3.Kālidāsa – Dr. V.V. Mirashi – Popular Prakashan, Bombay -1969 4.Kālidāsa : Afresh – Prof. Satya Pal Naranga, Nag Publisher , Delhi- 1997 5.Works of Kālidāsa – C.R. Devadhar – Motilal Banarasidass, Delhi- 1984 6.Kālidāsa – A critical study- Dr. A.D. Singh- Bharatiya Vidya Prakashan, Delhi -1976 @ IJTSRD | Available Online @ www.ijtsrd.com | Volume – 2 | Issue – 4 | May-Jun 2018 Page: 1979